This exhibition by the current Gertrude Contemporary Studio Artist will encompass the Studio 12 project space, his own studio across the hall and the laneway directly below his studio window. The exhibition positions these three spaces as an analogy for a dog’s body. Studio 12, a small windowless gallery on the first floor of Gertrude Contemporary being the brain of the dog; the long rectangular artist’s studio across the hall, the dog’s body; and the windows of the studio, its anus.

An ecology has been set up by the dog so that the studio is gradually becoming imperceptibly lighter with items that are expelled from it, whilst the world outside is becoming heavier with the burden of the dog’s waste.

Additionally, a series of new works in the form of hanging mobiles and cast sand sculptures will inhabit the studio space, or the body of the dog. The sand casts were made by digging a hole in the sand and pouring plaster into the void.

George Egerton-Warburton’s work considers the application of irrational methodologies to better understand the awkward moral balance in nature. Egerton-Warburton often cites subjective and shared experiences where actions are incongruous with thoughts and impulses due to the external force of cultural inheritance.

Egerton-Warburton is currently concentrating on making one video per year, shot in a single take. He is a current Gertrude Contemporary Studio Artist. Recent solo exhibitions include Steaming ties, curated by Caterina Riva, Artspace, Auckland, and Living With Living, Sutton Project Space, Melbourne. Group exhibitions include Public Thinking, curated by Susan Gibb, 55 Sydenham Rd, Sydney, and The Stalactite Love Review, as part of Perth International Arts Festival, University of Western Australia. gew-portfolio.blogspot.com